Cheat Sheet: Don Giovanni | The Opera Blog The Opera Blog Everything you need to know about the opera described as “the perfect opera”. Who was the composer? A drawing of Mozart by Doris Stock (1789). Wolfgang Amadeus Mozart. How do you know you’re listening to Mozart? He wrote stunning melodies, often with lots and lots of notes. When Mozart lived in Salzburg, the emperor is said to have remarked of his music: “Too beautiful for our ears, my dear Mozart, and vastly too many notes!” To which Mozart supposedly replied, “Just as many as are necessary, your majesty!” Mozart sought out stories for the music he already wished to write, believing “in an opera the poetry must at all costs be the obedient daughter of the music”. What happens in the story? It is the last day of Don Giovanni’s life, but he doesn’t know that. For the libertine, it’s just another day of pleasure-seeking: breaking into a bedroom, killing a victim’s father and seducing a bride on her wedding day. But despite his impressive track record, Don Giovanni’s luck is beginning to run out. Donna Anna has sworn vengeance. The scorned Donna Elvira is in pursuit.

Masetto wants his bride back. And Don Giovanni has just heard a voice from beyond the grave, warning of his impending punishment. But Don Giovanni has no fear. Half mocking, half earnest, he invites the graven statue of the man he’s just killed to dinner. Will he come? Not afraid of spoilers? Read the full synopsis . Who are the main characters? Costume designs for Donna Anna, Donna Elvira and Don Ottavio, by Robert Jones. Don Giovanni – a nobleman living for pleasure Leperello – his manservant, who both detests and envies his master for his success Donna Elvira – the scorned lover Donna Anna, the Commendatore & Don Ottavio – a victim, her father and her fiancé Zerlina – a peasant girl who catches Don Giovanni’s eye on her wedding day Masetto – her fiancé What’s the big hit?

‘The Catalogue aria’, in which Leperello lists all of his master’s conquests: “My lady, this is the list of the beauties my master has loved…” Something to listen out for The first note of the overture is a clanging D Minor chord – as the gates of hell judder open, announcing Giovanni’s impending doom. But before long, the music bounces into D Major and at once we see the two threads that make Don Giovanni such a masterpiece – Mozart and Da Ponte have given us an opera that has laugh-out-loud moments of comedy in a story of violence, tragedy and darkness. Notice that Don Giovanni himself doesn’t get any showstopper arias, which are traditionally the vehicle of character revelation in opera. Mozart doesn’t give us any soliloquy to reveal what his title character thinks and feels – in two of his arias, he is actually imitating someone else! At the end of the opera, Don Giovanni is still a mystery to us. Listen out during Leperello’s amusing ‘Catalogue Aria’ – as the servant describes “majestic” (read: larger) women, he sings long, broad notes.

When he sings of petite ladies, the notes are short and snappy. This production is … ? A close-up of the set model built for Don Giovanni. Photo by Aidan Corrigan Created by legendary Scottish director David McVicar for Opera Australia. He sets Don Giovanni at the end of the enlightenment age as the romantic era is dawning. It’s a dark world where class distinctions are very important. The set shows off the obsession with death that was already beginning to grip the poets of the age, with an ever-visible graveyard and bones and skulls protruding from the walls. Pillars and walls offer plenty of places to hide. A little history The oldest known advertisement for Don Giovanni Off the back of the enormous success of The Marriage of Figaro, one of the managers of Prague’s Nostitz Theatre commissioned Mozart for another work. The composer wished to collaborate with librettist Da Ponte again, and Da Ponte, captivated by the story of Don Juan, was happy to oblige. The tale of the libertine Don Juan and his demise had first appeared in print in the writings of Spanish monk Tirso de Molino, who wrote The Trickster of Seville and the Stone Guest in the 1620s.

A libretto and opera already existed when Mozart and Da Ponte began writing, and the busy Da Ponte actually remodelled the existing libretto by Giovanni Bertati instead of writing his own. He worked so quickly that the original libretto is riddled with spelling mistakes. Mozart was still writing the score right up until the premiere – it is likely the orchestra had to sight-read at least parts of it. Mozart conducted the premiere himself “and was welcomed joyously and jubilantly by the numerous gathering,” according to a newspaper of Vienna. In other words? Don Giovanni’s 1787 premiere was a rip-roaring success. Conversation starters A few trivia tidbits in case you get stuck for a topic in the queue to the bathroom. Mozart and Da Ponte lived across the street from each other in Prague while composing Don Giovanni, and could be heard yelling back and forth as they worked their craft. It’s said that an elderly Casanova actually advised on the libretto – and was in the audience when it opened. Mozart supposedly wrote the overture the night before the opera premièred, while his wife plied him with drinks to keep him awake.

Mozart called his opera a dramma giocoso – a “playful drama”, so there is both comedy and tragedy at play. Don Giovanni is on in Melbourne From May 11 – May 30. Visit the Opera Australia website for tickets and more information. One Response to “Cheat Sheet: Don Giovanni” JILLIAN Don Giovanni Synopsis - An Opera by Mozart Zerlina (soprano) The Story of Don Giovanni, ACT I Late one evening outside of Commendatore's (an old nobleman) palace, Leporello (Don Giovanni's servant) is keeping watch as Don Giovanni tries to seduce Commendatore's daughter, Donna Anna. The masked Don Giovanni fools Donna Anna initially as she thinks he is her betrothed, Don Ottavio. When she realizes that it may not be him, she demands he remove his mask and screams for help. Commendatore rushes to her aid. As the two men fight, Donna Anna disappears to call for Don Ottavio. When they return, they discover Commendatore has been killed. continue reading below our video Best Vacation Reads of 2015 They swear vengeance to the masked intruder.

The following morning, Don Giovanni and Leporello are outside of a tavern in a busy town square when Don Giovanni hears a woman singing about her lover abandoning her. Her distress is music to Don Giovanni's ears; he slithers over to her in order to seduce her. Before setting his eyes upon her, he quickly starts flirting. When his eyes catch up to his mouth, he realizes she is Donna Elvira - one of his many past conquests. Donna Elvira has been on the hunt for him. He pushes Leporello in front of her and demands him to divulge the truth of his many lovers before fleeing. Leporello tells her she is just one of many hundreds of girls within Don Giovanni's catalog of women. (Read the lyrics and translation of the "Catalog Aria" .) Donna Elvira storms away, infuriated. A little while later, a wedding party arrives celebrating the marriage of Zerlina and Masetto, both peasants. It isn't long before Don Giovanni takes notice of Zerlina and sets his sights on her.

He tries to persuade Masetto to let him host a wedding party for them at his castle, but Masetto quickly realizes his dishonest intentions. Don Giovanni is just trying to get Zerlina alone with him. Masetto gets angry, but Leporello is able to remove him from the scene. Now alone with Zerlina, Don Giovanni starts working his charm and the two begin singing the duet "La ci darem la mano." Donna Elvira cuts in and snatches Zerlina away from him. Donna Anna and Don Ottavio arrive in mourning of her father's death. Still plotting their revenge, they ask Don Giovanni for help. He readily agrees. Donna Elvira cuts in and tells them that he cannot be trusted as he is a womanizer. When Don Giovanni shouts that Donna Elvira is just a mad woman, Donna Anna recognizes his voice as the masked perpetrator. In Don Giovanni's castle, the wedding celebration for Zerlina and Masetto is underway. Don Giovanni, full of confidence, tells Leporello to invite as many girls as he can find. Meanwhile, Zerlina and Masetto are walking to the castle.

Still angry, Zerlina tries to reason with him that she has remained faithful. When they hear Don Giovanni approaching, Masetto quickly hides. He wants to see how Zerlina will act around Don Giovanni in order to prove herself. Don Giovanni starts to charm her, but realizes that Masetto is spying on them. Smartly, he calls out Masetto and scolds him for leaving the poor Zerlina alone. He hands her back to Masetto and they proceed inside the castle. Not long after, three masked guests arrive, having been invited by Leporello. The three guests are Donna Anna, Don Ottavio, and Donna Elvira. They pray for their protection and vengeance before entering the ballroom with everyone else. During the activities and extravagances, Leporello distracts Masetto as Don Giovanni takes Zerlina into another room where they can be alone. Zerlina screams, but Don Giovanni is able to drag Leporello into the room. When everyone arrives, Don Giovanni places the blame on Leporello. The three remove their masks and proclaim Don Giovanni's guilt.

When Don Ottavio approaches him with a sword, Don Giovanni narrowly manages to escape. The Story of Don Giovanni, ACT II Underneath a balcony at Donna Elvira's house, Don Giovanni has concocted a plan to seduce Elvira's house maid. He switches clothes with Leporello and hides in the bushes. While hiding, he sings a song of repentance as Leporello stands below the balcony. Donna Elvira accepts his apology and greets Leporello outside. Still in costume, he leads Donna Elvira away. Don Giovanni emerges from hiding and starts singing a song to the maid. Midway through his song, Don Ottavio and a few friends arrive looking for Don Giovanni. Dressed as Leporello, he convinces them he also hates Don Giovanni and will join them in their hunt to kill him. He manages to send Don Ottavio's friends away and beats Ottavio with his own weapons. Don Giovanni laughs as he leaves the scene. Donna Anna arrives shortly after and consoles her fiancé. Leporello abandons Donna Elvira in a darkened courtyard.

Having difficulty finding a door in which to escape, Donna Anna and Don Ottavio arrive. Leporello finally finds his exit, but only as Zerlina and Masetto enter through it. Upon seeing the disguised servant, they capture him. It isn't long before Anna and Ottavio catch on to what is happening. As they threaten to kill him, Elvira pleads for their mercy as she claims he is her reconciled husband. Scared for his life, Leporello removes his cloak and hat to reveal his true identity. He begs for forgiveness before seizing his opportunity to escape. Leporello meets Don Giovanni in the graveyard next to Commendatore's statue and tells Giovanni of the dangers he encountered. Don Giovanni brushes them off and tells Leporello that he tried to seduce one of Leporello's past girlfriends. Leporello is not amused, but Don Giovanni laughs heartily. All of a sudden, the statue begins to speak. He warns Don Giovanni that he won't be laughing any more after the morning's sunrise. Don Giovanni invites the statue to dinner, and to his surprise, the statue accepts.

Inside Donna Anna's room, Ottavio is asking for marriage. Anna refuses to marry until her father's death is avenged. Back in Don Giovanni's dining room, he is enjoying an extravagant meal fit for a king. Donna Elvira arrives to tell him that she is no longer mad at him. Curious, he asks her why. It is because she now only feels pity for him. She asks him to change his lifestyle, but he refuses, claiming that wine and women are the essences of humankind. Angrily, she leaves. Moments later, she screams and rushes back through the dining room before disappearing into another room. Don Giovanni demands Leporello to figure out what has frightened her. Moments later, Leporello screams and runs back to the dining room. Diving under the dining room table, he tells Don Giovanni that the statue has arrived for dinner. Don Giovanni greets the statue at the door. The statue asks Don Giovanni to repent for his sins, but Don Giovanni refuses. Then, with a great flash, the earth opens up beneath their feet and the statue pulls Don Giovanni with him to hell.

Don Ottavio, Donna Anna, Donna Elvira, Masetto, and Zerlina return to the dining room to tell the moral of the story. Extras Did you know there is an actual monument to Mozart's Don Giovanni? The Don Giovanni Monument is located in Prague at the National Theatre where the opera first premiered. Mozart's 'Don Giovanni' : NPR Mozart's 'Don Giovanni' November 2, 200712:00 AM ET WHO'S WHO Houston Grand Opera Orchestra and Chorus Patrick Summers, conductor Donna Elvira (Ana Maria Martinez) resists Don Giovanni (Mariusz Kwiecien), yet can't give up on her love for him. Brett Coomer/Houston Grand Opera hide caption toggle caption Brett Coomer/Houston Grand Opera As the legend goes, he was the quintessential rake — a womanizing scoundrel with a list of amorous conquests so long that his right-hand man needs an entire aria just to outline it! His name is Don Juan or, in Mozart's musical version of the story, Don Giovanni. Mozart's opera has been described as a comedy, and it has any number of uproarious moments.

But there's far more to Don Giovanni than just a series of big laughs, just as the notorious Don is more than just an unprincipled, single-minded ladies' man. The opera's comic element is driven by Giovanni's devious schemes and hijinks. But both Lorenzo da Ponte's libretto and Mozart's matchless music ensure that the dire consequences of those schemes are as evident as their humor. The result is a disturbing ambiguity that's at the core of Mozart's masterpiece. The Don's personality is so beguiling that audiences actually tend to root for him, even as his dark side becomes more and more obvious. Still, when he eventually receives a personal invitation to hell, and his enemies rejoice, it's hard to blame them. Don Giovanni has been widely regarded as the greatest opera ever composed. That's a pretty bold statement, but however you rank it, Mozart's opera is a brilliant combination of stark human tragedy and touching comedy, set to music of limitless genius. On World of Opera host Lisa Simeone presents it in a new production from Houston Grand Opera , starring baritone Mariusz Kwiecien in the title role.

Article continues after sponsorship Email November 3, 200712:00 AM ET Don Ottavio (Garrett Sorenson) tries to comfort his fiance Donna Anna (Alexandra Deshorties) after Don Giovanni murders her father. Brett Coomer/Houston Grand Opera hide caption toggle caption Brett Coomer/Houston Grand Opera Don Giovanni finally meets his end when the statue of the Commendatore comes to life and challenges him to mend his ways, or face the consequences. Brett Coomer/Houston Grand Opera hide caption toggle caption Brett Coomer/Houston Grand Opera ACT ONE: The central character in Mozart's Don Giovanni is, of course, the Don himself — a quick witted love-'em-and-leave-'em type, with a trail of jilted women in his wake. But in Mozart's opera, we get the feeling that the Don's luck is turning sour. As the darkly colored Overture subsides, we find Don Giovanni already in trouble. His personal servant Leporello complains bitterly, to himself, about Giovanni's increasingly reckless behavior. And indeed, the Don's most recent attempted seduction — of a noblewoman, Donna Anna — is in the process of going completely haywire.

Donna Anna runs from her father's house screaming vengeance against an unknown intruder who entered her bedroom disguised in a cloak, pretending to be her fiance. Naturally, the intruder was Giovanni. Anna's father, the Commendatore, catches up with the disguised Giovanni and proposes a duel. In the ensuing swordfight, Giovanni kills him. That's just great, Leporello says — first rape the daughter, then murder the father. Giovanni is unconcerned, and strolls away calmly. But when Donna Anna and her fiance Don Ottavio show up and find her father dead, they swear revenge. The next morning, Giovanni and Leporello stumble across Donna Elvira, another one of Giovanni's conquests. She's tracked him down to insist that he live up to his romantic promises of true love and fidelity. To demonstrate why that's not likely to happen, Leporello reads her an exhaustive list of the Don's former lovers, in the well-known "Catalogue Aria." While Giovanni tries to make a clean getaway, Elvira, too, swears vengeance. Giovanni now spots a brand new temptation, a young peasant girl called Zerlina.

Leporello sidetracks her fiance, Masetto, and Giovanni sweet-talks Zerlina in the tender duet "La ci darem la mano." But Donna Elvira shows up, warning the naive girl to beware. She gives the same advice to Donna Anna and Don Ottavio. Giovanni dismisses Elvira's ravings as a symptom of madness. But eventually Anna recognizes the Don's voice as that of the cloaked man who killed her father. When Giovanni leaves, Anna urges Ottavio to avenge the murder immediately. Act One finishes up at Don Giovanni's estate, where he's throwing a pre-wedding party for Zerlina and Masetto. Anna, Ottavio and Elivra arrive with masks on, plotting their collective revenge. As the orchestra plays a few dance numbers, a scream is heard from somewhere in the palace. It's Zerlina, trying to fight off Giovanni's advances. The Don tries to blame Leporello for the attack, but everyone sees through the lies. They denounce Giovanni, as he makes yet another narrow escape.

ACT TWO: Leporello is still complaining about the treatment he gets from his boss, especially the dangers he's been forced to confront, and by now he's ready to quit. Giovanni talks him out of it, with the help of a little extra cash. Giovanni's next scheme is to have his way with the cute young maid who attends Donna Elvira. Giovanni and Leporello switch clothes. The plan is that Leporello — pretending to be Giovanni — will sweet-talk Elvira out of the way. Then Giovanni, dressed in his servant's clothes, can seduce the maid. At first, it all goes swimmingly. Elvira is entranced by the phony Giovanni's poetic words and goes off with Leporello, leaving Giovanni to serenade the maid. Things go downhill when Masetto shows up with a band of peasants, searching for Giovanni. They're well-armed, and plan to kill him if they find him. Giovanni, still dressed as Leporello, disguises his voice and says he knows where the scoundrel is.

After he sends everyone else off in various directions he's free to give Masetto a thorough beating. After Zerlina comforts Masetto, the scene changes to a dark courtyard. Leporello is still in Giovanni's clothes, and that's about to get him in trouble. As he grows tired of wooing Donna Elvira, Anna, Ottavio, Masetto and Zerlina accost him, believing that they've finally cornered the notorious Don. Leporello begs for his life, astounds everyone by removing his Giovanni disguise, and beats a hasty retreat. Next, Elvira gets a poignant moment to herself, with a dramatic aria lamenting her feelings of hate — and love — for Don Giovanni. The next scene finds Giovanni and Leporello in a local graveyard. They're discussing recent events when they get quite a start. They're sitting near the giant stone statue of the Commendatore, Giovanni's Act One murder victim — and the statue begins to speak. "You will have your last laugh before the next dawn," it tells Giovanni. Leporello is terrified, but Giovanni is characteristically calm.

He orders Leporello to invite the statue to dinner that evening. The statue accepts the offer. The opera's final scene is set in Don Giovanni's dining room. He's feasting alone, with Leporello attending. A small orchestra plays the popular tunes of the day, including music from Mozart's own opera, The Marriage of Figaro. Donna Elvira arrives, attempting once more to convince Giovanni to turn his life around. He laughs at the notion. As Elvira leaves she lets out a loud scream. Leporello goes to investigate, and screams even louder when finds the stone statue of the Commendatore knocking at the door. "You invited me to dinner, and I have come," the statue bellows. Giovanni takes the statue by the hand and a icy chill rushes over him. Three times, the statue demands that Giovanni repent his evil ways. Each time Giovanni refuses. "Your time is up!" declares the statue. Flames rise around the Don, the ground sinks beneath him, and Giovanni descends into hell. As the opera closes Leporello tells the others what happened, and in a large ensemble they each ponder their next moves.

Don Ottavio is anxious to marry Donna Anna — but Anna, who has had a taste of excitement amidst all the turmoil, now says she needs a full year of mourning before she can marry the sedate Ottavio. Donna Elvira is fed up with the perils of romance, and decides to join a convent. Masetto and Zerlina take everything in stride and head home for dinner. Leporello says he'll head for the nearest tavern to find a less troublesome employer. Finally, everyone concludes that Giovanni has met a just end in hell — the fate that awaits all evildoers. Still, that final ensemble leaves us feeling that somehow, with Don Giovanni gone, the world isn't quite as interesting as it used to be. Don Giovanni: Synopsis - Opera Libretti Opera Libretti Wolfgang Amadeus Mozart. Dramma giocoso ( opera buffa ) in two acts. 1787. Libretto by Lorenzo Da Ponte. First performance at the Prague National Theatre on 29th October 1787.

CHARACTERS Don Giovanni, a dissolute nobleman baritone Donna Elvira, a lady from Burgos soprano Zerlina, a peasant girl, his betrothed soprano Don Giovanni has had his way with Donna Anna, entering her bedroom, when she mistook him for her betrothed, Don Ottavio. Leporello, outside, complains of his life as a servant. Donna Anna pursues Don Giovanni and is joined by her father, who dies as they fight. Don Ottavio joins her in vowing revenge against the unknown assailant, while Don Giovanni and Leporello make their escape. Now they come across another woman, Donna Elvira, an earlier victim of Don Giovanni, who now runs off, when they recognise each other, while Leporello reads her a catalogue of his master's conquests. Master and servant now come across a group of peasants, ready to celebrate the marriage of Zerlina and Masetto. Don Giovanni manages to be left alone with Zerlina, having invited the whole company to his palace nearby, but as they go off together Donna Elvira appears, intervening to warn the girl.

Donna Anna and Don Ottavio now join them, recognising Don Giovanni by his voice. In Don Giovanni's garden Masetto reproaches Zerlina, frustrating Don Giovanni's attempts to lure her away. Donna Anna, Donna Elvira and Don Ottavio appear, masked, and are invited by Leporello to join the celebration. At the ball in the palace Don Giovanni takes Zerlina into another room and when she screams pretends that Leporello is guilty. The three masked visitors now reveal themselves and accuse Don Giovanni. Outside Donna Elvira's house, Leporello is made to impersonate his master to woo her, while Don Giovanni turns his attention to her maid, a cruel deception. Masetto, seeking Don Giovanni, has his helpers sent off in various directions by Don Giovanni, in the guise of Leporello, and when Masetto is alone he sets upon him, leaving him to be consoled by Zerlina. Leporello, taking refuge in the courtyard of the house of Donna Anna, is seized, but pleads for mercy, when they realise who he is.

Don Giovanni and Leporello now come together, as night draws on, in a churchyard, where the stone statue on the tomb of the Commendatore is heard to speak. At this Don Giovanni tells Leporello to invite the statue to dinner. The statue accepts and in a final scene is heard slowly approaching the room where Don Giovanni is at dinner, to the terror first of Donna Elvira, who has been urging reform on her betrayer, and then of Leporello. The statue slowly enters and holding fast Don Giovanni's hand takes him into the fiery pit that now opens before them. There follows a brief epilogue in which the moral of the tale is pointed by those who remain. Il dissoluto punito, ossia Il Don Giovanni (The Libertine Punished, or Don Giovanni) was written for Prague and staged in Vienna the following year, with additional arias for Don Ottavio and Donna Elvira.

Lorenzo Da Ponte based his libretto on the well known story, dramatized in the 17th century by the Spanish playwright Tirso da Molina and the subject of an opera by Giuseppe Gazzaniga, with a libretto by Giovanni Bertati, that had been performed in Venice in February 1787. Da Ponte also drew on Molière's treatment of the subject. The opera opens with a sinister overture, in which the approach of the stone statue can be heard. Don Ottavio's two great arias, Dalla sua pace (Of her peace), written for Vienna, and Il mio tesoro (My treasure) are essential parts of tenor repertoire. The buffo Leporello's catalogue song, Madamina il catalogo (Miss, the catalogue), provides bass-baritones with superb opportunity for comedy, while Don Giovanni's Là ci darem la mano (You'll give me your hand, my dear), the subject, among other things, of variations by Beethoven and by Chopin and of elaboration by Liszt, is one of the most famous of all operatic songs.

Don Giovanni orders celebration in an energetic Finch'han dal vino (Let them have wine) and woos Donna Elvira's maid in an eloquent serenade, Deh, vieni alla finestra (Come to the window). Donna Anna herself has her moment in Or sai chi l'onore (You know for sure), while Zerlina's Batti, batti, o bel Masetto (Beat me, beat me, fair Masetto) teases the poor man into easy submission. About Mozart's Operas - Cosi Fan Tutte, Don Giovanni, The Magic Flute, et al... About Mozart's Operas - Cosi Fan Tutte, Don Giovanni, The Magic Flute, et al... A look at the most famous and beautiful Mozart Operas... Mozart composed 22 operas over his 35 years. His knack for picking up and quickly mastering any music style meant that creating operas was easy for him. The music in the Mozart operas is deceptively simple, but underneath that lies a strong current of innovation. Mozart didn't just write operas - he enhanced the genre as a whole.

His new techniques brought operas at the time to new levels of musical sophistication and emotional depth, letting the music express the drama. But music wasn't the only way he improved opera. The excellent plots and realistic, human characters of his works were very novel for the time. In fact, he searched for a good long while before he found a librettist (Lorenzo da Ponte) who was good enough to write for the composer's music. The Mozart operas haven't left the performance repertory since the era he wrote them. Amazing - over two hundreds of unbroken performances! He wrote in different styles of opera, depending on the era of his life. In his later operas he deftly combines two or more styles, proving again that he was one of the greatest operatic innovators. The different types of opera he wrote are... Opera Buffa: an Italian comic opera. Opera Seria: a "serious" style of opera, involving heavy themes Singspiel: a German type of opera which has both talking and singing. Here are the most famous and well-loved Mozart operas... Idomeneo (1781) Considered the first of Mozart's great (i.e. mature) operas.

The Elector of Bavaria asked Mozart and librettist Giambattista Varesco to write an opera for a court carnaval in 1781. They agreed and created Idomeneo. The style is Opera Seria, and is actually quite similar to French opera of the day. Based on a legend from the Ancient Greeks, the opera is set on Crete and involves Greeks, Trojans, gods and priests. The Abduction from the Seraglio (1782) This is a Singspiel (both spoken words and singing). The story involves the hero rescuring his lover from a Turkish palace. It's a light-hearted opera, with a strong dash of humor. Since the opera involves Turkish elements, Mozart composed some fitting Turkish-sounding music for it. Turkish art was very popular in Europe then, and this coupled with the fun plot made the opera a smash hit. Mozart earned quite a decent bit of money from performances of this opera. Some of the arias are astonishingly difficult, filled with complex runs and fast passages. When the Emperor Joseph II heard the opera he complained to Mozart "there are too many notes!".

But Mozart replied calmly "There are just as many notes as there should be". Le nozze di Figaro (1786) Meaning "The Marriage of Figaro", this opera had an average reception in Vienna when it first premiered in 1786. Then Mozart took it to Prague... where it was super-successful and highly appreciated. It's an opera buffa in style, with a libretto by Lorenzo da Ponte. The play it was based on was actually banned in Vienna at first, because it poked fun at the nobility. The entire plot spans a single day. The setting is the palace of a Count in Sevilla (Spain). Don Giovanni (1797) Mozart's second collaboration with Lorenzo da Ponte. Because Le nozze di Figaro was so popular in Prague, Mozart was asked to compose another opera for the audiences there the following year. And so Don Giovanni was born. This is my personal favorite of the Mozart operas. Franz Liszt wrote a wonderful fantasia for solo piano on themes from this opera. The opera itself is one of Mozart's best and most popular, still performed frequently today.

Click to explore the life and works of Franz Liszt, who was hugely inspired by Mozart Mozart managed to blend opera buffa and opera seria in Don Giovanni, with some characters belonging to one style and some to another. The premiere in Prague was a bit of a mess. Mozart hadn't finished it in time, so had to quickly scribble out the last passages right before the performance time! Mozart knew all the singers for the lead roles. He designed their individual characters' vocal parts to fit their voices perfectly. He also conducted the premiere himself - what an event that must have been! The story is set in Spain, and is based on the Don Juan legend. Don Giovanni is a ladies man, but in an accident he kills the important father of one of his mistresses. He runs away, but the father returns as a terrifying statue and takes Don Giovanni to hell. Cosi fan tutte (1790) The title translates to "Women are all like that", although this isn't an exact translation. It was Mozart's third and final collaboration with Lorenzo da Ponte. The story is somewhat risque, although during the first couple of years nobody cared. It wasn't until a bit later that opera houses began altering the plot.

The plot is quite immature really, but good fun nonetheless. It's about two young women who each have a lover. The lovers make a bet that their women will be unfaithful, so they disguise themselves and swap women. The trick works, and eventually the two "new" couples have a double wedding... but before the end everything comes out. The women return to their original lovers and there's a happy ending. The Magic Flute (1791) This enchanting fairytale (Die Zaubeflote in German) was the last of the Mozart operas to be performed (the second last to be written). It has strong Masonic elements (Mozart was an active freemason), and was also influenced by the philosophy of the Enlightenment. The librettist Schikaneder already had a plot, words, and actors written for his Singspiel opera. All he needed was music - and he asked Mozart. With his usual speed the composer wrote all the music, then conducted the premiere towards the end of 1791 (two months before his death). The Magic Flute was immensely popular. Mozart had been depressed before, and the huge positive reception to his latest opera brightened his mood.

The opera is known for its fantastical elements, and the insanely demanding aria for the Queen of the Night.

Obligation of the first and foremost Commandment K.35 (1767) Apollo and Hyacinth K.38 (1767) Bastien and Bastienne K.50 (1768) The Feigned Simpleton K.51 (1768) Mithridates, King of Pontus K.87 (1770) Ascanius in Alba K.111 (1771) Scipio's Dream K.126 (1772) La finta giardiniera K.196 (1774) The Shepherd King K.208 (1775) Thamos, King of Egypt K.345 (1773/1779) Zaide K.344 (1779) Idomeneo, King of Crete K.366 (1781) The Abduction from the Seraglio K.384 (1782) The Goose of Cairo K.422 (1784) The Deluded Bridegroom K.430 (1784) The Imp

resario K.486 (1786) The Marriage of Figaro K.492 (1786) Don Giovanni K.527 (1787) Cosi fan tutte K.588 (1790) The Clemency of Titus K.621 (1791) The Magic Flute K.620 (1791) Don Giovanni | opera by Mozart | Britannica.com opera by Mozart Alternative Titles: “Il dissoluto punito ossia il Don Giovanni”, “The Libertine Punished, or Don Giovanni” Related Topics opera buffa Don Giovanni, in full The Libertine Punished; or, Don Giovanni, Italian Il dissoluto punito; ossia, il Don Giovanni, opera in two acts by Wolfgang Amadeus Mozart (Italian libretto by Lorenzo da Ponte ) that premiered at the original National Theatre in Prague on October 29, 1787.

The opera’s subject is Don Juan , the notorious libertine of fiction, and his eventual descent into hell . For Mozart, it was an unusually intense work, and it was not entirely understood in his own time. Within a generation, however, it was recognized as one of the greatest of all operas. Background and context The great popularity in Prague of Mozart’s previous opera, The Marriage of Figaro , led the theatre’s impresario to commission a new work from the composer. Mozart wanted to keep the same librettist, da Ponte, for the new work. The librettist was extremely busy writing for other composers at the Viennese court and decided to adapt an existing libretto on the subject of Don Juan. Although there were hurdles and delays in bringing the opera to the stage, Don Giovanni was a great success in Prague and remained in the repertoire there for years. Wolfgang Amadeus Mozart, portrait by Johann Georg Edlinger; in the Gemäldegalerie in Berlin, … Sean Gallup/Getty Images Mozart revised the opera for Vienna , where it was performed in May 1788.

His changes included substituting a simpler aria for “ Il mio tesoro ” (Don Ottavio in Act II) and adding a comic scene between Leporello and Zerlina. Although Vienna’s audiences were less enthusiastic than Prague’s, Don Giovanni was appreciated by sophisticated music lovers there. Page from the manuscript of Mozart’s opera Don Giovanni (1787). Bettmann/Corbis Mozart deftly underscores the action with his music. For example, in an aria midway through Act I (the “ Catalogue Aria ”), Giovanni’s servant, Leporello, reads delightedly from his little black book, listing the many women who have been conquered by Don Giovanni in each of several nations—1,003 women in Spain alone! Mozart matches musical characteristics to various adjectives, so that petite women are portrayed with short notes and ladies of more grandeur are described with longer note values. Similar Topics Other clever musical touches can be found in the well-known duet “ Là ci darem la mano ” in Act I. As the duet begins, Giovanni and his prey have alternate verses, but, as the conquest ensues, they begin to blend in harmony, the music reflecting their emotional unity.

Of far more dramatic musical impact is the entrance of the vengeful ghost (specifically, a stone statue come to life) near the end of the opera. He has come to demand repentance of the villain; otherwise he is prepared to take Giovanni to hell. The music by which the ghost appears is some of the most formidable that Mozart would ever write. He had placed hints at the beginning of the overture; the foreboding chords symbolize Giovanni’s fate and foreshadow the massive movement of the statue that will end the libertine’s adventures. The scene is so powerful that many performances in the 1800s ended with Giovanni’s descent into hell rather than with Mozart’s light final scene.

Don Giovanni, nobleman and rake ( baritone ) Don Pedro, Commandant of Seville and Anna’s father ( bass ) Don Ottavio, Anna’s fiancé ( tenor ) Leporello, Don Giovanni’s servant (bass) Donna Anna, the Commandant’s daughter ( soprano ) Donna Elvira, Don Giovanni’s former lover (soprano) Masetto, a peasant (bass) Zerlina, Masetto’s fiancée (soprano) Peasants, musicians, dancers, chorus of demons. Setting and story summary Don Giovanni is set in and around Seville (now Sevilla ), Spain , in the 17th century. Act I Music: Fact or Fiction? Scene 1. In the garden outside the Commandant’s mansion. Leporello, servant to Don Giovanni, serves as lookout and waits impatiently as his master daringly breaks into the house to seduce the Commandant’s daughter. He grumbles about his thankless job—no sleep, little pay, hard work (“ Notte e giorno faticar ”). Suddenly, Giovanni and Donna Anna rush out of the palace. They are struggling.

Anna screams and unsuccessfully tries to discover the masked Giovanni’s identity. Her father appears, brandishing a sword , and challenges Giovanni to a duel; Anna runs to get help. Giovanni, at first reluctant, accepts the challenge and proceeds to kill the old man, whereupon he and Leporello escape. Anna returns with her fiancé, Don Ottavio, to find her father dead; she makes Ottavio swear to avenge her father’s death. Britannica Stories Queen Elizabeth I’s Skirt Found Scene 2. Early morning the next day, in a square outside Seville. Leporello, having made Giovanni promise not to punish him for speaking freely, tells him that his life is scandalous. When Giovanni becomes angry, Leporello changes the subject to Giovanni’s catalogue of women. As his master tells of his latest flame, they spot a veiled woman walking along the road. The men do not recognize her, but she is one of Giovanni’s former conquests, Donna Elvira. They hide as she rages at her betrayal at the hands of a scoundrel who had seduced and then deserted her (“ Ah! chi mi dice mai ”).

When Giovanni, pleased at the prospect of another conquest, approaches to comfort her, she recognizes him as the man who had abandoned her. As she berates him, the dismayed Giovanni sneaks off. Leporello, curtly explaining to her that she is not his master’s only victim and will surely not be the last, relates the catalogue of Giovanni’s conquests to her (“ Madamina, il catalogo è questo ”): 640 in Italy, 231 in Germany, 100 in France, a mere 91 in Turkey, but 1,003 in Spain! Leporello quickly departs, leaving Elvira even angrier and bent on revenge. Scene 3. Outside a tavern in the countryside near Don Giovanni’s castle. A group of peasants are celebrating the engagement of Zerlina and Masetto. Giovanni and Leporello admire the girls, and Giovanni is very interested in Zerlina. He invites everyone to enter his castle to eat and drink. But he detains Zerlina, to the annoyance of her fiancé, who is finally persuaded to go with the others.

Giovanni promises to marry Zerlina (Duet: “ Là ci darem la mano ”). Won over, Zerlina agrees. Just then, Elvira comes in and warns Zerlina against him. The two women leave together. Illustration (c. 1914) of a scene from Mozart’s opera Don Giovanni … © Photos.com/Jupiterimages Facebook Twitter YouTube Instagram Pinterest Anna and Ottavio arrive. Not realizing that Giovanni is the man who, masked, had assaulted her and killed her father, Anna seeks his help. Elvira returns and tries to tell the others what kind of man he really is, but Giovanni tells them that Elvira is mad and takes her away. Yet Anna has realized, from his voice, that Giovanni was indeed her attacker. She tells Ottavio what happened to her on the night her father was killed and again begs him to seek vengeance (“ Or sai, chi l’onore ”). Ottavio, left alone, reflects on his love for her (“ Dalla sua pace ”). Giovanni and Leporello reappear. Leporello relates how he got the villagers drunk and managed to lock Elvira out of the house.

Delighted, Giovanni orders a huge party (“ Finch’han del vino ”) and goes off to prepare for it. Scene 4. In the garden outside Don Giovanni’s castle. Listen: Mozart, W.A.: Don Giovanni Recitativo “ Orsù, spicciati presto ” (“Come on now, hurry … Masetto stalks into the garden, ignoring Zerlina’s entreaties and accusing her of infidelity. She urges Masetto to beat her if he wants, as long as they make up (“ Batti, batti, o bel Masetto ”). Masetto relents. When they hear Giovanni approaching, Zerlina becomes agitated, and Masetto, suspicious, hides so that he can watch them. Giovanni renews his attentions and tries to draw her aside into the very place where Masetto is hiding. Masetto, furious, jumps out of the foliage and surprises him, but Giovanni recovers his composure and blithely says that he and Zerlina were just looking for Masetto. Giovanni reunites the two and invites them to his castle to join the party.

Once they have left, three masked figures enter the garden. The three—Anna, Ottavio, and Elvira—are determined to expose Giovanni to everyone. Giovanni and Leporello see them from Giovanni’s balcony and, not recognizing them, invite them to the party as well. Britannica Lists & Quizzes Scene 5. Inside the ballroom of Don Giovanni’s castle. Listen: Mozart, W.A.: Don Giovanni The aria “ Madamina, il catalogo e questo ” (“My dear lady, this is a … As the guests dance, Giovanni continues his pursuit of Zerlina. He heartily welcomes the masked trio as they come in. As Giovanni dances with Zerlina, Leporello forces Masetto to dance, allowing Giovanni to drag Zerlina away. When Zerlina’s screams are heard, interrupting the party, Masetto and the others rush to help her, but the door is locked. When the angry crowd threatens to break down the door, Giovanni reappears, with Leporello at sword’s point. Giovanni proclaims that his lackey is the attacker.

Ottavio, Anna, and Elvira unmask and threaten Giovanni, who disarms Ottavio with his sword and keeps the mob away. Using Leporello as a shield, Giovanni escapes. Act II Scene 1. Outside Donna Elvira’s house. Leporello threatens to leave Giovanni, but he is given money and is persuaded to stay. Giovanni has a plan: Leporello is to pretend to be him and entice Elvira away, leaving Giovanni, dressed as Leporello, free to seduce her maid, Zerlina. They exchange clothes. It is dark, and, when Elvira appears at her window, she is persuaded by an apparently repentant “Giovanni” to come down to him. A false scare sends the pair running off. Giovanni as “Leporello” then serenades Zerlina (“ Deh vieni alla finestra ”), but he is forced to hide when Masetto and some armed villagers come looking for him. “Leporello” tells them that he has left his master, and he sends them off in all directions to find Giovanni.

The disguised Giovanni tricks Masetto into handing over his weapons and then thrashes him and runs off, leaving Masetto groaning on the ground. Zerlina appears, comforts him, and takes him home (“ Vedrai, carino ”). Scene 2. A dark courtyard by Donna Anna’s house. “Giovanni” and Elvira are in a courtyard; he is trying to find a way to escape. Just as he finds the door, Ottavio and Anna enter, followed by Zerlina and Masetto. Thinking Leporello is Giovanni, they corner him while Elvira begs them to spare him. Desperate, he reveals his true identity, to the astonishment of all. As they advance on him, he begs for mercy but manages to flee. Ottavio urges the others to comfort Anna while he seeks revenge (“ Il mio tesoro ”). Elvira, left alone, expresses her mixture of emotions about Giovanni—pity for his doomed soul and hurt by his betrayal of her (“ Mi tradì quell’alma ingrata ”). Adolf Hitler Scene 3. A church graveyard. Giovanni laughingly relates his recent adventures to Leporello.

Suddenly, a ghostly voice says that his mirth will soon end. Leporello, stuttering with fright, notices the funerary statue of the Commandant, on which is inscribed a vow of vengeance on his murderer. Giovanni brazenly orders the terrified Leporello to invite the statue to supper. The statue accepts, with a horrifying nod of its head. Scene 4. Inside Donna Anna’s house. Anna is still mourning her father’s death, and Ottavio tries to soothe her by proposing marriage and assuring her that Giovanni will soon be brought to justice . She tenderly confirms her love for him but says their marriage must wait until her father’s murder has been avenged (“ Non mi dir ”). Scene 5. Dining hall inside Don Giovanni’s castle. Giovanni orders the orchestra to play as he dines, while Leporello sneaks food from the table. Elvira bursts in and begs Giovanni to change his ways, but he merely invites her to eat. As she is leaving, she suddenly stops at the door, screams, and runs out another door. Giovanni orders Leporello to investigate the commotion.

He does so and returns stammering about a man of stone knocking at the door. The Commandant’s statue appears and announces that he has come for dinner. Giovanni offers his hospitality as Leporello hides. The statue refuses mortal food but invites Giovanni to sup with him. Giovanni accepts, giving the statue his hand as a promise, but he then finds himself trapped in the statue’s marble grasp. The statue demands that Giovanni repent, but the rake refuses. The statue proclaims Giovanni’s fate and sinks through the ground as flames surround them. Terrified, Giovanni tries to escape but is blocked by the fire. With a cry of despair, Giovanni is dragged off to hell as a chorus of demons condemns him to eternal damnation. Flames envelop the castle. Epilogue. Don Giovanni’s dining hall, a few minutes later. Ottavio, Anna, Elvira, Zerlina, and Masetto arrive with ministers of justice to confront Giovanni. Leporello, who has escaped the inferno, relays the news and describes the terror he has witnessed. Justice has been done, they all agree.

Anna agrees to marry Ottavio; Elvira will retire to a convent; Zerlina and Masetto will go home to eat; and Leporello will seek a new and better master. They turn to the audience and warn that a similar fate awaits all such libertines.

Question: Who composed the opera "Don Giovanni"?
Answer: Mozart